Handbook of the Cleveland Museum of Art - 1925

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HANDBOOK

THE CLEVELAND MUSEUM OF ART

A BRIEF DESCRIPTION OF THE
MUSEUM, ITS COLLECTIONS
AND ITS WORK

PRICE FIFTY CENTS
MAY, MCMXXV

914 Ingalls Library

THE CLEVELAND
MUSEUM OF ART

HANDBOOK OF

THE CLEVELAND MUSEUM OF ART

EAST BOULEVARD AT BELLFLOWER ROAD
IN WADE PARK.

FIRST EDITION
CLEVELAND, OHIO
MAY, MCMXXV

>91
* » »

VIEW OF THE MUSEUM FROM THE BOULEVARD

10939

INTRODUCTION

This handbook is prepared to assist visitors in making a more
or less systematic tour of the Museum* starting in the rotunda
and following the galleries from I to XV as indicated.

The policy of the Museum is to show at one time* only such
objects as can be assembled attractively and consistently* and
to change the arrangement at more or less frequent intervals.
This means that few objects are always on exhibit.

In selecting those works to be illustrated in this brief survey*
an attempt has been made to select objects of special signifi¬
cance* and also to represent as widely as possible the various
collections and donors. If objects illustrated should not happen
to be on view and are of special interest* visitors can usually be
shown them in storage* by applying to the General Office on
the Ground Floor (see plan on page 70) during the office hours,
9 a. m. to 5 p. M. on business days, Saturdays 9 a, m. to 1 p, m.
On Sundays and holidays this is not usually possible.

Frederic Allen Whiting*

May* 1925, Director .

CONTENTS

View of Building Frontispiece

Rotunda from Entrance Page 4

Garden Court from Rotunda 5

Armor Court from Rotunda 6

Department of Early American Art* Gallery l 7

Department of Decorative Art* Galleries II-III 10

Department of Paintings, Galleries IV-VIII 22

American Sculpture 37

Special Exhibitions, Galleries IX-X 38

Department of Prints and Drawings, Gallery XI 39

Department of Oriental Art, Galleries XII-XIV 46

Department of Egyptian Art, Gallery XV 55

Department of Decorative Art* Armor Court 58

Department of Classical Art* Rotunda 6i

Department of Classical Art* Garden Court* Loggia 62

Textile Study Room* Textiles 65

Services to the Public 67

History and Building 69

Ground Floor Plan 70

Exhibition floor plan 71

Officers* Staff* Membership* etc, 72

4

THE GARDEN COURT FROM THF, ROTUNDA

5

THE COURT OF TAPESTRIES AND ARMOR FROM THE ROTUNDA

6

DEPARTMENT OF EARLY AMERICAN ART, GALLERY I

EARL1 AM KRICAN SILVER, XVI LX IX centuries. Gift of J. H. Wade, 1919-1921.

The Colonial silversmiths represented in the Museum Collection cover a
range of one hundred years from John Burt of Boston, bom in 1691, to
Thomas C Coit of Connecticut, born in 1791. Included are such prominent
names as that of Paul Revere, the patriot (1735-1818).

The portrait of Nathaniel Hurd by Copley (see page 8) is interesting because
he was the silversmith whose handsomely engraved tea pot is included in the
important collection of silver lent by Hollis French of Boston.

7

DEPARTMENT OF EARLY AMERICAN ART, GALLERY I

NATHANIEL HURD (Boston Silversmith and Engraver). By John Singleton
Copley, 1737-1815. The John Huntington Collection, 1916.

The collection of paintings and handicrafts shown in Gallery 1 indicates that
early in the Colonial days the instinct for artistic expression manifested
itself in the settled parts of the country. Portraits such as those illustrated
show the capable artists who were developed. Eleven painters born before the
Revolution are represented in the collection.

The portraits illustrated represent the work of the earliest artist (Hesse-
lius, born 1682), of one in his prime at the time of the Revolution (Copley,
born 1737), and of two still working during the War of 1812 (Jarvis, born
1780 and Sully, 1783).

DEPARTMENT OF EARLY AMERICAN ART, GALLERY I

MRS, MARY HET SMITH. By Gustavus Hes&eliu$, 16811-1755^ The Hinman B.
Hurlhut Collection, 1923.

Left: OLD PAT, By John Wesley Jarvis, 1780-1834. Gift of J, H, Wade, 1916 .Right;
CAPTAIN JEAN T. DAVID. Bv Thomas Sully, 1783-1872, The John Huntington
Collection, 1916 q

DEPARTMENT OF DECORATIVE ARTS, GALLERY II

FRENCH ARMCHAIRS. XVIII century. Ltft: Louis XV style. Right: Louis XVI
style. The Dudley P. Allen Collection, 1922.

CONSOLE TABLE* French, XVIII centuryjLouis XVI Period. Anonymous Gift, 1922.

This table is signed by Weisweiler who was a master "ebeniste” in Paris.
The master furniture-maker before being permitted to sign his products had
to prove bis skill and to be formally made a master by the guild of furniture
makers.

IO

DEPARTMENT OF DECORATIVE ARTS, GALLERY II

ENGLISH PORCELAIN, Chelsea, Bow, and Bristol, late XVIII century* The
Mary Warden Harkness Collection. Bequeathed 1917.

These delightful ornaments reflect the eighteenth century in their charm and
frivolity. Such fanciful objects went well with the furniture of the period
whether it was made by Chippendale, Sheraton, or Hepplewhite. The two
upper figures are Bristol ware. The figure of Brittannia at the lower left is a
rare example of Bow workmanship. The candle-stick is from the Chelsea
factory after designs by Roubiliac.

11

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

1 2

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

PANELS OF MORSE OR WALRUS IVORY. German, end of XI century. Gift
of J + H. Wade, 1922.

The use of figures as symbols, and the monumental effect gained thereby*
shows the influence of Byzantium on Western European art.The central group
represents Christ in an aureole supported by the symbols of the Evangelists,
and flanked by angels. The other figures are the apostles. These plaques were
made by the same artist who carved the famous altar at Melz in Germany.

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

CHAMPLEVE ENAMEL CROSS. French, Limoges, about 1200 A. D + Gift of
J. EL Wade, 1923.

In champlevc, the pattern was dug out and then filled with enamel.

14

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

CENTRAL PANEL OF TABERNACLE. French* early XIV century. Workshop
of the Tabernacles of the Virgin. Gift of Mr* and Mrs, John L. Severance and
J. H* Wade, 1923.

This ivory is a synthesis of early Gothic art at its best,In it there is linear grace*
The delicate idealism of the figures is no longer merely symbolic* as in Byzan¬
tine and Romanesque art. There is humanity but not the realism seen in the
art of succeeding centuries* The faces smile with a self-contained quality
which later became affectation* Compare illustrations* pages 18 and 20* The
plaque is one of the largest of its kind* and is ranked by Koechlin, the great
French authority, as one of the finest of its group.

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

A TABLE FOUNTAIN OF SILVER GILT AND ENAMEL* French, end of
XIV century. Gift of J. H, Wade, 1924.

This fountain was unearthed in the garden of a palace in Constantinople*
Wine or perfume was forced through the central support to the thirty-two
outlets. The four outlets on the topmost level are lions and dragons* Below
animal or human figures spouted on small paddle wheels which, in turning,
rang tiny bells. The enamel subjects represent human or animal figures play¬
ing instruments or drinking from streams of water. They thus emphasize the
two appeals of the fountain, the satisfaction of the ear and the satisfaction
of thirst,

16

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

MADONNA AND CHILD. Italian, Pisan, early XIV century, close in style to
Giovanni Pisano. The John Huntington Collection, 1924.

The early sculptors of Pisa, Niccola, and his son Giovanni Pisano, and their
followers were the primary influences in freeing sculpture in Italy from the
traditions of decadent Roman art. There is a classical severity in the face,
but the draperies have a rhythmic flow of Gothic line. The figure has great
vitality and life. It is wood polychromed and gilded. The figure is also re¬
markable because of its great size, being over all about seven feet in height.
Wooden figures of this height and importance, so close to the style of Gio¬
vanni Pisano, himself, are unknown. Wooden sculpture,slightly later in period,
is more common, and a fine example is shown in the same gallery as the
figure illustrated.

17

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

The heads show at their
best the realistic trend of
French Gothic sculpture be¬
fore it was overwhelmed by
the classic influence of the
Italian Renaissance. Michel
Colombe was the great mas¬
ter of that period and for a
short time under his in¬
fluence French sculpture in
the region of the Loire got
back the simplicity and ser¬
iousness of the earlier work.
Casts of these two heads are
in the Trocadero Museum
in Paris* They are extremely
close to two famous statues
of the Virgin and Child, the
Virgin of Fcouen and of
Olivet in the Louvre*

PAIR OF MARBLE HEADS. French, School of Michd Colombe, School of the
Loire, beginning of XVI century* Gift of William G. Mather, 1921*

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

A characteristic type of Italian Renaissance sculpture was enamelled terra
cotta introduced bv Luca della Robbia. In this the terra cotta was covered
with a white enamel glaze* Simple monumental types and few colors were
used* Andrea della Robbia, a nephew, in continuing the tradition, used more
sentimentalized forms and more colors* An unillustrated relief by Benedetto
Buglioni in the Museum collection shows that general type. The author of the
piece illustrated above, Giovanni della Robbia, was Andrea's son. He turned
towards realism, introducing landscape backgrounds and more colors. He
often painted rather than enamelled terra cotta, as in this piece*

THE SAMARITAN WOMAN AT THE WELL. Italian, Florentine, by Giovanni
della Robbia, about 1510, Gift of Samuel Mather, 15)22.

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

EDUCATION OF THE VIRGIN. French, School of the Loire, early XVI century.

Gift of G. J. Demotte, 1923.

France retained her traditional Gothic art at this time. The growth of Italian
Renaissance models intensified the use of the old forms for a few years at the
beginning of the sixteenth century. Then the Renaissance swept everything
before it. Characteristic of late Gothic art is an intense realism of feature and
form. Note difference of feeling from Romanesque symbolical treatment, see
pages 13-14, and idealistic treatment of early Gothic, see page 15.

20

DEPARTMENT OF DECORATIVE ARTS, GALLERY III

Italian, Sienese, first half XIV century.

French, second half XV century*

Italian, Bolognese, second half XIV century*

THREE PAGES FROM ILLUMINATED MANUSCRIPTS. Gift of J\ H. Wade, 1914*

These illuminated miniatures are really paintings reduced in size so that they
could form illustrations in the text of manuscripts* Manuscripts and minia¬
tures were made in most cases by specially trained monks in the monasteries*

21

DEPARTMENT OF PAINTINGS, GALLERY IV

MADONNA AND CHILD AND ADORING SAINTS. By Sano di Pietro, Italian,
Sienese School, 1406-1481. Gift of Mrs. B, P, Bole, Mr. and Mrs. Guerdon S. Holden,
Mrs. Windsor T- W T hite, and The Holden Lund, 1924.

This shows the aloof, decorative, linear treatment which marked Sienese
painting. It contrasts with the realistic quality of much of Florentine art.

DEPARTMENT OF PAINTINGS, GALLERY IV

THE VIRGIN AND CHILD< By Francesco Botticini, 1446 (?)-1497, Italian,
Florentine School. Gift of Mrs. Liberty E* Holden, 1916,

Botticim was much influenced by Botticelli and shows this in his linear treat¬
ment and formalized color scheme- With his master he is a figure who is not
in the main realistic stream of Florentine art.

DEPARTMENT OF PAINTINGS* GALLERY IV

MADONNA AND CHILD WITH SAINTS. By Lorenzo da San Severino, Italian,
Umbrian School, died in 1503. Gift of Mrs, Liberty E* Holden, 1916.

This altar piece with its figures against a background of dull gold contrasts
with the sophistication of the sixteenth century manner seen in the next
illustration.

24

DEPARTMENT OF PAINTINGS, GALLERY IV

PORTRAIT OF A GENTLEMAN AND HIS WIFE. By Giovanni Battista
Moroni, Italian, Lombard School, 152025—‘1578. Gift of Mrs. Liberty E. Holden,

1916.

This double portrait is an example of accomplished technique and knowledge.
The later Renaissance has learned its lesson well as far as realistic representa¬
tion goes. The details of jewelry and costume, the quality of textures, the
character of the sitters are all ably felt. Characteristic of the school and of the
artist is the background of light grey against which the silhouette counts
effectively. It is the formal portrait of the day.

Moroni was a pupil of Mo ret to of Brescia and both give a typical expression
of the Lombard manner as it was localized and spread from the little city of
Brescia. Moroni also bears the marks of his association with Lorenzo I .otto,
an artist usually grouped with the Venetians. Contrast in the gallery this
portrait with the Portrait of Giuliano De Medici by Salviati which has the
characteristic form qualities of Florentine art at this time.

In this gallery are many other examples of Italian painting. Important
among them is a cassone panel, showing a horse race in the streets of Florence,
which was made for a wedding celebrated between the members of two prom¬
inent Florentine families in the year 1418. It is the earliest known dated
cassone panel. Other important pictures, early in date, are the small Floren¬
tine Crucifixion and the large Madonna and Child of the School of the
Marches, Among the more important later pictures are the Entombment by
Leandro Bassano and the Madonna and Child by some close follower of
Leonardo da Vinci.

*5

DEPARTMENT OF PAINTINGS, GALLERY V

PORTRAIT OF A LADY. By Paulus Moreelse, Dutch, 1571-1638. Gift of Mr. and
Mrs. J. H, Wade, 1916.

TRIUMPH OF THE HOLY SACRAMENT OVER FOLLY. By Peter Paul
Rubens, Flemish, 1577-1640. Gift of Mr. and Mrs, j\ H, Wade, 1916.

26

DEPARTMENT OF PAINTINGS, GALLERY V

MADONNA AND CHILD. By Frans Floris, Flemish, 1517-1570. Gift of Mr. and
Mrs* J. H. Wade, 1916.

LANDSCAPE. By Claude Lo train, French, 16001682. Gift of Mrs. liberty E.
Holden, 1916.

27

DEPARTMENT OF PAINTINGS, GALLERIES V-VII

MRS. COLLYEAR AS “LESBIA AND HER DEAD BIRD.” By Sir Joshua
Reynolds, English, 1723-1792* Gift of J. H. Wade, 1920*

CARTHAGE. By J. W. M. Turner, English, 1775-1851, Gift of Mr. and Mrs. J. H,
Wade, 1916*

28

DEPARTMENT OF PAINTINGS, GALLERIES V-VIl

TANNHAUSER. By Henri Fantin-Latour, French, 1836-1904, Gift of Mr. and
f Mrs, J. H. Wade, 1916.

ARABS RESTING, By Eugene Delacroix s French, 1798-1863. Gift of Mr. and Mrs.
J. H. Wade, 1916.

29

DEPARTMENT OF PAINTINGS* GALLERIES V-VU

MOONLIGHT AT MIDNIGHT, By jean Charles Cazin, French, 1841-1901, The
Charles W. Hark ness Collection, 1923.

SUMMER. By Pierre Puvis de Chavannes, French, 1816-1898, Gift of Mr. and
Mrs, J, H. Wade, 1916.

3 °

DEPARTMENT OF PAINTINGS, GALLERIES V-VTT

AU BORD DE LA MER. By Eugene Boudin, French, 1835-1898. Gift of Mrs. D. Z.
Norton, 1917,

LES BERGERS (THE SHEPHERDS). By Rene Menard, French, J 862-
Gift of Ralph King, 1921.

3 1

DEPARTMENT OF PAINTINGS, GALLERIES VII-VIII

PORTRAIT OF MISS DORA WHEELER. By William Merritt Chase, American,
1E49-1916. Gift of Mrs. Boudinot Kdth, 1911.

This portrait by Chase was painted about the year 1883. In that year it was
awarded a Gold Medal in the Internationale Kunstaustellung in Munich and
was shown at the Paris Salon. Chase spent his student years in Munich where
many of the leading figures of his generation received their training. Twacht-
man and Duveneck were studying there at the same time. The Venetian Girl
of Duveneckfs illustrated on the next page must have been painted just after
he left Munich for further study in Italy. American art received another new
emphasis about the same period from the men influenced by the Bar biz on
group in France. Homer Martin felt this very strongly and it can be seen in
his picture. Wild Coast, Newport, page 34, and in the earliest work of Henry
Golden Dearth, page 35. Winslow Homer, however, is purely American. No
one had ever painted the sea as he saw it and Early Morning After Storm at
Sea, page 34, is ranked in his own mind as his greatest rendition of this sub^
ject. The work of George Bellows and Rockwell Kent follows in Homer’s
footsteps. They are American in viewpoint and feeling and are representative
of the best of the present day tendencies.

DEPARTMENT OF PAINTINGS, GALLERIES VII-VIII

VENETIAN GIRL, By Frank Duveneck, American, 1848-1919. Gift of Mrs*
Henry A, Everett in memory of her daughter, Dorothy Burnham Everett, 1922*

33

DEPARTMENT OF PAINTINGS, GALLERIES VII-VIII

WILD COAST, NEWPORT By Homer Martin, American, 1836-1897. Gift of
Leonard C. Hanna, Jr. 1923,

EARLY MORNING AFTER STORM AT SEA. By Winslow Homer, American,
1836-1910. Gift of J. H. Wade, 1924.

34

DEPARTMENT OF PAINTINGS* GALLERIES VII-VIII

HEAD OF A BOY. By George Fuller, American, 1822-1884, The Dorothy Burnham
Everett Collection* 1925.

THE STUBBLE FIELD, By Henry Golden Dearth, American* 1864^1918. Gift of
George E. Gage and Frederic S. Porter* 3924,

35

DEPARTMENT OF PAINTINGS, GALLERIES VII-VIII

STAG AT SHARKEY'S, By George Bellows, American, 1882-1925. The Hinman
B. Hurlbut Collection, 1922,

AMERICAN SCULPTURE

Left: HEAD OF LINCOLN. By Gutzon Borglum, American, 1867- Gift of
Mrs, Salmon P. Halle, 1922* Right: HEAD OF A WOMAN. By Gaston Lachaise,
American, 1882- The Hinman B. Hurlbut Collection, 1924.

Left: AMOR CARITAS. By Augustus Saint-Gaudens, American, 1848-1907, The
Dorothy Burnham Everett Collection, 1924. Right: THE BACCHANTE. By
Frederick William MacMonnics, American, 1863- Anonymous gift, 1919,

37

GALLERIES IX AND X

SPECIAL EXHIBITIONS

These two important galleries are set aside for temporary exhi¬
bitions which are scheduled throughout the year for periods of
from four to six weeks each* In this way the Museum is able to
keep the public informed as to the art movements of the past
and present more adequately than would be possible from the
permanent collections alone*

The Museum wishes to encourage a wider appreciation of the
work of American artists and to this end has the following
annual exhibitions: The work of Cleveland Artists and
Craftsmen; Contemporary American Oil Painting; Contempo¬
rary American Water Colors*

The importance of the other exhibitions of paintings is indi¬
cated by the following list from among those held in recent years:

Selected canvases from the Foreign Section of the Twenty-
second International Exhibition held at Carnegie Institute;
paintings by Ramon and Valentin de Zubiaurre; paintings by
Zuloaga and Sorolla; and sculpture by Lachaise and Bourdelle;
paintings by Edouard Manet, Berthe Morisot, and Pierre
Auguste Renoir; and paintings by the Taos Society of Artists*
The exhibitions of prints and drawings in these galleries are
usually devoted to the work of special groups, to particular
subjects, to prints made by same process, etc* Although the
larger part of the material comes from the Museum's perma¬
nent collection, much is borrowed from collectors and dealers*
Exhibitions of oriental subjects are largely confined to
Chinese and Japanese painting, Japanese wood block color
prints, with an occasional exhibition of contemporary work.

THE GARDEN COURT

The Garden Court furnishes a needed oasis, in which Museum
objects are shown amid growing plants* These together with
the splash of water in the pool provide an antidote to Museum
fatigue and give refreshment to mind and eye, sending the
visitor back to the galleries with renewed interest.

In the balcony of the Court is located the splendid McMyler
organ upon which frequent recitals are given under ideal con¬
ditions for the enjoyment of music,

38

DEPARTMENT OF PRINTS AND DRAWINGS, GALLERY XI

ST. ANTHONY TORMENTED BY THE DEVILS. Engraved by Schongauer,
German, before I440-I491. The Dudley P. Alien Collection, 1923.

The collection is composed of several thousand prints dating from the begin¬
nings of the art early in the fifteenth century to the present day. A selection
of these is always on view in this gallery and special exhibitions are held
from time to time in adjoining galleries. The prints not on exhibition and
a large collection of reproductions may be consulted in the Print Room on
the ground floor. The visitor's attention is particularly called to the cases'of
material illustrating the various graphic processes, in the corridor leading’to
the Print Room.

39

DEPARTMENT OF PRINTS AND DRAWINGS, GALLERY XI

Left: THE DANCE OF DEATH, The Merchant. Woodcut by Holbein, German,
1497-1543. Gift of the Print Clubj 1922. Right: TAROCCHI CARO. One of the set
of fifty Anonymous Italian Engravings of the XV Century, The Dudley P. Allen
Collection* 1924.

Both these are among the most famous series of early prints.

Left; VIRGIN AND CHILD. Engraved bv Schcmgauer* German, before 1440-1491.
The Ralph King Collection, 1924. HOLY FAMILY WITH THF. DRAGON

FLY. Engraved by Durer, German, 1471-1528. The Ralph King Collection, 1925.

DEPARTMENT OF PRINTS AND DRAWINGS, GALLERY XI

THE ENTOMBMENT* Engraved by Mantegna, Italian, 1431-1505. The
Ralph King CoJIcetion, 1914.

- ; -- \t\

WEt-

Jf]

ADORATION OF THE KINGS. Engraved by Lucas van Leyden, Dutch, 1494-1533
The Charles W. Harkness Collection, 1923.

4 *

DEPARTMENT OF PRINTS AND DRAWINGS* GALLERY XI

BACCHANALIAN, Etched by Fragonard, French, 1732-j 806. The Dudley P.
Allen Collection, 1924.

Compare the freedom of the etched line with the more formal line of the
engravings on the preceding pages.

ONE OF THE BULLFIGHT SERIES, Etching and Aquatint by Goya, Spanish,
1746-1828. The Charles W. Harkness Collection, 1923.

42

department of prints and drawings* GALLERY XI

Left: SUPPER AT EMMAUS, Etched by Rembrandt, Dutch, 1606-1669. Gift
of The Print Club, 1922, Right: ST. CATHERINE IN THE CLOUDS, Etched
by Rubens, Flemish, 1577-1640. The Ralph Xing Collection, 1923,

Rembrandt, by common consent, is the greatest etcher that ever lived. He
made more than three hundred plates, Rubens etched only three.

Left- PAINTER'S STUDIO. Etched by van Ostade, Dutch, 1610-1685.
Right: MNTASIES; SATYR FAMILY. Etched by G. B. Tiepolo, Italian, about
1695-1770. Both gifts of Leonard C. Hanna, Jr., 1924.

4 3

DEPARTMENT OF PRINTS AND DRAWINGS* GALLERY XI

ANNIE HADEN* Etched by Whistler, American, 1834-1903. The Ralph King
Collection, 1922.

Whistler said he would rest his reputation on this etching. The Whistler
etchings and lithographs are among the most important items in the print
collection.

44

DEPARTMENT OF PRINTS AND DRAWINGS, GALLERY XI

PIERROT* Drawing by Gavarni, French, 1804-1866. The Dudley P. Allen Collec¬
tion, 1923*

The collection of old and modern drawings is supplemented by several
thousand reproductions which may be found in the Print Room*

45

DEPARTMENT OF ORIENTAL ART, GALLERY XII

TERRA COTTA HEAD OF BUDDHA. I-III Centuries, A. D* The Dudley P. Alien
Collection, 1922.

A typical example of the hybrid art, usually called “Graeco-Buddhist,”
which grew up in North India in the centuries which followed Alexander the
Great's conquest in 326 ICC. The Hellenistic tradition spread, in a diluted form,
across the Trade Route to China and thence to Japan by way of Korea*

In this gallery are gathered the arts of peoples who have inhabi ted that part
of the world's surface which lies both east of Constantinople and west of
Suez as far as South China* This vast territory includes Egypt since the Arab
conquest, Morocco, Moorish Spain and Sicily, as well as Turkey, Arabia,
Persia, India, Tibet, Siam and French Indo-China.

46

DEPARTMENT OF ORIENTAL ART, CALLERY XII

HEAD OF A KHMER DIVINITY. Possibly a posthumous royal portrait, Khmer,

XI Century. The Dudley P, Allen Collection, 1923,

The Khrners built up a remarkable civilization, lasting for more than eight
centuries, in the depths of the tropical jungles, in what is now modern Cam¬
bodia, a part of French Indo-China, The temples and monuments left by
these forgotten people are among the most extensive and impressive ruins in
the world. This head comes from Angkor, the ancient capital.

47

DEPARTMENT OF ORIENTAL ART, GALLERY XII

PARVATI, THE CHIEF FEMALE HINDU DEITY. South India, XIV-XV
Centuries. Gift of j\ H, Wade, 1924.

This little bronze was made to be carried in religious processions. The pro¬
portions of the figure are based on the unit of measure, the “tala/* the dis¬
tance between the base of the headdress and the point of the chin.

48

DEPARTMENT OF ORIENTAL ART, GALLERY XIII

Left ; STELE OF A BUDDHIST TRINITY. Chinese, Wei Dynasty, dated 537
A h D. The John Huntington Collection, 1924, Right: KWANYlN, Chinese,
T'ang Dynasty, 618-907 A. D. The Ralph King Collection, 1915*

Left: POTTERY HEAD OF A LOHAN* One of the Sixteen Disciples of Buddha.
Chinese, T'ang Dynasty, 618-907. The Worcester R. Warner Collection, 1917.
Right: HEAD OF A BODHISATTVA. Chinese, North Wei Dynasty, 386-535*
The Ralph King Collection, 1915.

49

DEPARTMENT OF ORIENTAL ART, GARDEN COURT

The base, which is dated 627 -A, although contemporary, does not belong
to the figure. Note the dignity, repose, and aloofness of all Chinese sculpture.

5°

DEPARTMENT OF ORIENTAL ART, GALLERY XIII

DEPARTMENT OF ORIENTAL ART, GALLERY XIV

MORTUARY POTTERY, CELADON WARE. Excavated near Sunto, the ancient
capital. Korean, Korai Period, 920-1392 A, D. The John L. Severance Collection,
1923.

BUDDHIST TRIPTYCH OF GILDED BRONZE. Korean, Chosen Period, 1393^
1910. The Worcester R. Warner Collection, 1918,

DEPARTMENT OF ORIENTAL ART, GALLERY XIV

GILDED LACQUER FIGURE OF YAKUSHI BUDDHA, GOD OF MEDICINE.
Japanese, Tokugawa Period, 1700-1850. The Worcester R. Warner Collection* 1915*

The annals of Chinese art go back about three thousand years. In japan
there was virtually no art prior to the introduction of Buddhism in the
sixth century A. D.

Oriental art is less obvious and less progressive, though more symbolic,
than Western art.

53

>wIl5

DEPARTMENT OF ORIENTAL ART* GALLERY XIV

SWORD GUARIL (Tsuba) Jap¬
anese, Tokugawa Period, 1700-
1850. The D. Z. Norton Collectirni,
1919. BRONZE MIRROR. Jap¬
anese* Fuji wara Period, 900-H00.
The D.Z. Norton Collection, 1917.

Mirrors were often buried with the dead to ward off evil spirits.

Left: A LESSON IN PENMANSHIP. Japanese wood block color print by Utamaro.
Late XVIII Century. Gift of J. H. Wade, 1911. Right: KWANNON bearing a lotus
dais on which to receive the faithful souls. Wood and Lacquer. Japanese, Kamakura
Period, 1200-1400. The Ralph King Collection, 1919*

54

DEPARTMENT OF EGYPTIAN ART* GALLERY XV

DOOR OF THE SOUL, OR KA< Egyptian, XVIII Dynasty, 3580-1350 B. C. The
Edward S« Harkness Collection, 1921.

While European art is based on the convention of representing only what
can be seen at one time, Egyptian art is based on the convention of represent¬
ing as much as possible, each part—eye, face, shoulders, in the position
easiest to see. The inscription starts in the center of the lintel and reads in
both directions, giving a much better balance than a European inscription
which reads from left to right.

DEPARTMENT OF EGYPTIAN ART, GALLERY XV

<6

Left: LION HEADED GODDESS, SEKHMET. Right: PORTRAIT HEAD
OF A KING. Egyptian, XVIII Dynasty, 7580-1350 £L C. The John Huntington
Collection, 1916 and I9I4.

Egyptian sculpture in the round is primarily monumental. It is frequently in very hard stone*
like this syenite and diorite* giving the impression of eternal duration*

DEPARTMENT OF EGYPTIAN ART, GALLERY XV

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57

Egyptian art after 3000 B. C. is not primitive but highly developed. The sculptor's sketches are
as full of type character as any modern cartoon and they reveal much knowledge and skill. The
Portrait of a King shows as high ability used in thy service of regal elegance.

DEPARTMENT OF DECORATIVE ARTS, ARMOR COURT

RQNDACHES. Spanish and German, XVI Century. Gift of Mr. and Mrs. John L.
Severance* 191:6.

Examples of fine workmanship in the Severance Collection of Arms and
Armor.

58

DEPARTMENT OF DECORATIVE ARTS, ARMOR COURT

59

DEPARTMENT OF DECORATIVE ARTS, ARMOR COURT

ESPALIER OR SHOULDER PLATES, Probably- by the Milanese Armorer
Negroli. Italian, XVI Century. Gift of Mr. and Mrs. John L. Severance, 1916,

60

DEPARTMENT OF CLASSICAL ART, ROTUNDA

ATHLETE ATTRIBUTED TO MYRON, Greek, Type of V Century, B. C, The
John Huntington Collection, 1924.

An ancient marble copy made in the early years of the Roman empire after a
Greek bronze statue in the style of Myron , the most famous sculptor of
athletes of the fifth century B. C,, popularly known through his Discus
Thrower. The supports were of course unnecessary in the original bronze.
There are practically no restorations.

6l

DEPARTMENT OF CLASSICAL ARTj GARDEN COURT, LOGGIA

GREEK HEAD. Type of V Century, B. C. Gift of Mrs. Leonard C. Hanna, 1923*
Marked with the cool clarity of the age preceding Phidias but also a softness
suggestive of a later date. A part of the nose is restored in plaster.

GREEK POTTERY. VII-V Century, B. C. Gifts of J. H. Wade, Mrs. L. C. Hanna,
and The Dudley P. Alien Collection, 1923-1924.

62

DEPARTMENT OF CLASSICAL ART, GARDEN COURT, LOGGIA

GREEK GRAVE RELIEF, about 400 B. C. Gift of Mrs. Leonard C, Hanna, 1924.

The grave monuments of Athens afford some of the finest expressions of
Greek spirit.

63

DEPARTMENT OF CLASSICAL ART* GARDEN COURT, LOGGIA

ROMAN TORSO OF APOLLO. 27 B. G-14 A. D. Gift of ]. H. Wade, 1924.

Roman sculpture of the time of Augustus was more elegant than the earlier
Greek sculpture, not so simple, not so profound, but lovely in line and surface.

64

TEXTILE STUDY ROOM, TEXTILES

Coptic, V-VI Century*.

The John Huntington Collection,
1916.

Italian, XV Century.

The Dudley P. Allen Collection,
191R,

Persian, XVI Century.

The J. H, Wade Collection, 1914.

Persian, about 1500.

The J. H. Wade Collection, 1916.

The Textile collection consists of an important group of pieces representative
of historic types in many periods. They can be consulted under supervision
in the textile room.

65

TEXTILE STUDY ROOM, LACES

THREE PIECES OF LACE. From The Ellen Garretson Wade Memorial Collec¬
tion, 1923,

The Lace collection consists of the important pieces which form The Ellen
Garretson Wade Memorial Collection presented by J. H* Wade, Jr., Garret-
son Wade, and Mrs* E. B. Greene* In addition, J. H. Wade gave a large group
of type pieces. Other donors have added fine examples* The upper piece is
early XVIII century, fiat Venetian point- the middle flounce is of the same
period, but made in Brussels. The lower one is Milanese tape lace, with
scenes from the story of Joseph,

66

SERVICES TO THE PUBLIC

THE LIBRARY

The Library of the Museum contains books, magazines,
photographs and lantern slides dealing mainly with fine and
applied art. Books are not lent, but slides and photographs may
be borrowed for purposes of instruction.

THE EDUCATIONAL DEPARTMENT

The opportunities offered to the public by the Educational
Department may be briefly summarized as follows:

Work With Adults —Clubs, conventions, and other adult
groups may arrange for guidance in the Museum by appoint¬
ment. Lectures are given Friday evening at eight-fifteen, and
Sunday afternoon at four o’clock during the winter months.
Certain of these are arranged by the Department of Musical
Arts. Courses on art and musical appreciation are provided for
college students.

Work With Children —By an arrangement with the Board of
Education all fifth and sixth grade classes visit the Museum on
schedule. High schools, lower grades, and out-of-town classes
may receive instruction by appointment.

Saturday Morning Classes —Drawing, modeling, and singing
classes for members’ children are held each Saturday morning
during the school season, as is a free advanced drawing class
to which children are admitted through competition.

Entertainment for Children —Entertainments are held in the
Lecture Hall from October to June at two o’clock each Satur¬
day afternoon; and on Sunday afternoon at four o’clock there
is a “Museum Hour” for little children and one for older boys
and girls. This “Hour” is devoted to story telling or talks with
lantern slides.

THE DEPARTMENT OF MUSICAL ART

The Department of Musical Arts is maintained by an endow¬
ment fund created in memory of P. J. McMyler by Mrs. Mc-
Myler and her daughters, who also gave the Museum organ
as a memorial. Organ recitals are given in the Garden Court,
other musical events in the Lecture Hall. In addition to lectures
held in the Museum, extension work is carried on with certain
educational institutions of the city. Cooperation is maintained
with the Educational Department in its Friday evening and
Sunday afternoon lectures and Saturday afternoon entertain¬
ments. Appreciation cl asses for Members’ children are conducted.

67

PUBLICATIONS

The first publication of the Museum was the Catalogue of
The Inaugural Exhibition of The Cleveland Museum of Art,
printed in 1916. The large paper edition, limited to 1000 copies,
is fully illustrated, and an interesting historical resum£ precedes
the section devoted to each collection. A few of these catalogues
are still available at $3.00 a volume. (Size 9L2 x 12%; 360
pages; 145 full page illustrations).

The Catalogue of the Severance Collection of Arms and
Armor, by Helen Ives Gilchrist, a beautifully printed and
illustrated book, has recently been published by the Museum.
The text is so complete that it may be regarded as a history of
armor; and an introduction by Bash ford Dean, Curator of
Armor of The Metropolitan Museum of Art, adds much to the
value of the book. The edition is limited to three hundred,
with a few copies only for sale at $40.00 a volume. (Size 9 x 12;
289 pages; 26 photogravure plates; 7 text drawings and many
armorers’ marks by Theodore Sizer).

Japanese Sculpture of the Suiko Period, by Langdon Warner,
is a handsomely printed volume from the Yale University Press.
It covers the art of the seventh century which laid the foundation
for Buddhist art in Japan. Examples of sculpture in the Suiko
period are so rare that it has been possible to illustrate them all.
The present price is $30.00, to be advanced to $40.00 when two
hundred copies have been sold. (Size 13 x 16; 77 pages; 145
full page plates).

At the sales desk the following publications are also sold:
The Catalogue of the Collection of Paintings Presented to The
Cleveland Museum of Art by Mrs. Liberty E. Holden, an illus¬
trated description of the Museum’s collection of Italian Primi¬
tives compiled by Miss Stella Rubinstein, price postpaid,
twenty-five cents; The Handbook of The Severance Collection
of Arms and Armor, fully illustrated, with preface and historical
introduction by Helen Ives Gilchrist, price postpaid fifty cents;
The Museum Handbook, which aims to make the Museum
known to the public in outline, and gives a description of some of
the most important objects in the collections, price postpaid fifty
cents; and the Bulletin of The Cleveland Museum of Art,
published ten times a year as a record of the progress of the
Museum and its collections, price postpaid $1.00 a year, single
copies ten cents.

68

HISTORY AND BUILDING OF THE CLEVELAND
MUSEUM OF ART

The Cleveland Museum of Art grew out of the creation of
trusts by John Huntington and Horace Kelley, “for the purpose
of establishing and maintaining in the City of Cleveland a
gallery and museum of art for the promotion and cultivation of
art in said City.”

The first Building Committee was formed in 1905. Actual
work on the building was commenced in May, 1913, on the site
in Wade Park presented by Mr, and Mrs. J. H. Wade. The
Museum was incorporated as a corporation not for profit in
1913, following the appointment of Frederic Allen Whiting as
Director, and on June 6, 1916, the building was formally dedi¬
cated and opened to the public.

Building —The building is 300 feet long and 120 feet broad.
It is classical in style, the Ionic order being used in the south
portico and the end pavilions. The cost was about $1,250,000.00.

Marble —The exterior is of white Georgia marble. A variety
of marbles is used in the interior. The dado on main floor, the
rotunda columns, and handrails of the main stairs are of Char-
len marble, from Maryland. The walls of foyer and corridor on
ground floor are of English vein, Italian marble, imported from
Italy. All marble floors in the building are of Tennessee marble.
Walls of the Armor Court are of Grey Canyon sandstone,
quarried at Amherst, Ohio. The four columns supporting the
Garden Court balcony are of Egyptian granite, with Carrara
marble capitals. They were probably part of an ancient Roman
temple, and were cut down about 1780 or 1790 for use in the
Torlonia Palace in Rome, the marble capitals being carved at
that time to fit them.

Lighting System —The gallery lighting was planned by a
committee of experts who conducted extended experiments at
Nela Park. The south galleries and the courts are lighted from
above. In diffusing chambers between the upper and lower
gallery skylights, are metal louvres which control the sunlight.
Daylight lamps in scoop-shaped reflectors below these louvres
supply artificial light, which is directed on the gallery walls.

Ventilation —The ventilation is indirect. Air is taken from
the roof, washed, brought to the proper degree of heat and
humidity, and forced to all parts of the building.

69

Ground Floor Plan

GROUND STORY plan THE CLEVELAND MUSEUM OF ART

Exhibition Floor Plan

THE CLEVELAND MUSEUM OF ART

THE CLEVELAND MUSEUM OF ART

OFFICERS OF THE CORPORATION
President, J. H, Wade

Vice Presidents, Ralph King, John L. Severance, Wm. G. Mather
Treasurer, John Huntington Hard Secretary pro iem r F. A. Whiting

BOARD OF TRUSTEES

Leonard C Hanna, J
John H. Hord
Ralph King
Samuel Mather
William G* Mather

J-

Charles L. Murfey
D. Z, Norton
F. F. Prentiss
Willliam B* Sanders
John L. Severance
. Wade

EXECUTIVE COMMITTEE

Ratph King J. L. Severance

J. H* Wade W. B. Sanders

ACCESSIONS COMMITTEE
The President and Director, ex-ofjidis
L. C. Hanna, Jr. Ralph King W. G- Mather
D. Z. Norton John L. Severance

ADVISORY COUNCIL

The President of Western Reserve University
The President of Case School of Applied Science

Charles T* Brooks
Charles F. Brush

E. S. Burke, Jr.
Ralph M. Coe
H. G. Dalton

F. E* Drury

Myron T* Herrick
Guerdon S. Holden
William R. Huntington
Mrs. H. H. Johnson
Amos B. McNairy
Earl W. Oglebay

Mrs* Henry A. Everett Kenyon V, Painter

Paul L. Feiss
Edward B. Greene
Salmon P* Halle
H. M. Hanna, Jr
Edward S. Harkness
E* L.

James Parmelec
Frederic S. Porter
Mrs. F* F* Prentiss
Ambrose Swasey
Worcester R. Warner
Whittemore

STAF F OF THE MUSEUM
Director, Frederic Allen Whiting
Curator of Decorative Arts s William M. Milliken
Assistant in Textiles, Gertrude Underhill
Acting Curator of Pain ting,William M, Milhken
Curator of Oriental Art, Theodore Sizer
Curator of Prints, Theodore Sizer, Assistants
Leona B. Prasse and Richard R. Beatty
Curator of Classical Art, Rossiter Howard
Assistant to the Director, Olive C* Whiting
Secretary to the Director, Ethel F. Cook
Registrar, Eleanor R. Sackett
Cashier, Isabel Bloomberg

Curator of Educational Work, Rossiter Howard
Assistants, Gertrude Under hi 11 , Louise M. Dunn,
Ruth F* Ruggles, Katharine Gibson, Alice W.
Howard, Marguerite Bloomberg* Adviser,Henry
Turner Bailey

Curator of Musical Arts, Douglas Moore
Assistant, Arthur W. Quimby

Librarian, Nell G, Sill

Assistants, Harriet H, Thwing, Irene J. Kaul
Photography and Printing, E. A. Ruggles
Membership and Publicity Secretary, I.T, Frary
Superintendent of Buildings and Grounds
John W, McCabe

MEMBERSHIP

Foundation Benefactors contribute or

devise $500,000

Endowment Benefactors contribute or
devise * 100,000

Benefactors contribute or devise 25,000

Fellows in Perpetuity contribute or
devise 5,000

Fellows for Life contribute i,coo

Life Members contribute 100

Fellows pay annually 100

Organization Members pay annually 50

Sustaining Members pay annually 25

Annual Members pay annually 10

Full particulars may be had upon request.
ADMISSION

Open daily from 9 a*m. to 5 p*m., except as
follows:

Wednesday 9a.n1, to 10 p.m*

Sunday 1 p.m* to 10 p*m«

Free days: Sunday,Wednesday, Saturday and
public holidays. Friday also free from 7 to 10
p.m. during the lecture season*

On other days an admission fee of 25 cents is
charged to all except members, holders of
complimentary tickets and children of school age.
Closed all day on July 4, Thanksgiving Day
and December 25*

GALLERY ADVICE

The members of the staff are prepared to assist
visitors, but their many duties make it advisable
that appointments be arranged in advance,
LIBRARY

A reference library of works on art, with cur¬
rent art magazines, will be found on the ground
floor. Open from 9 to 5 daily except Sunday;
from October to May, Sunday 3 to 6, Wed¬
nesday 7 to 9.

GIFTS TO THE MUSEUM
The Director will be pleased to discuss desirable
gifts,, or ways of assisting in the work of the
Museum, with friends who may desire to help
in this way.

WHEEL-CHAIRS

For the convenience of visitors wheel-chairs are
available. No charge is made unless an atten¬
dant is desired, for which service 50 cents an
hour is charged.

PUBLICATIONS

Catalogues, photographs, postcards, Bulletins ,
etc. which are for sale may be found at the desk
at the main entrance. Orders by mail are invited.

LUNCH ROOM

The Lunch Room at the ground floor entrance is
open to the public from 12 m. to 5 p. m.